CAMBRIDGE UNIVERSITY PRESS English A: Language and Literature for the IB Diploma Brad Philpot
CAMBRIDGE UNIVERSITY PRESS English A: Language and Literature for the IB Diploma Brad Philpot
N9 DEDICATED < TEACHER L d AWARDS Congratulations to our incredible winner and finalists WINNER Ahmed Saya Sharon Kong Foong | Abhinandan Bhattacharya Anthony Chelliah Candice Green Jimrey Buntas Da rdoba School for A-Level, ST e JBCN International School Oshiwara, Gateway College, St Augustine’s College, University of San Jose-Recole Pakistan Malaysia India Sri Lanka e Philippines Brighter Thinking Better Learning
CAMBRIDGE UNIVERSITY PRESS University Printing House, Cambridge CB2 8BS, United Kingdom One Liberty Plaza, 20th Floor, New York, NY 10006, USA 477 Williamstown Road, Port Melbourne,VIC 3207, Australia 314-321, 3rd Floor, Plot 3, Splendor Forum, Jasola District Centre, New Delhi — 10025, India 79 Anson Road, #06-04/06, Singapore 079906 Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781108704939 © Cambridge University Press 2019 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2019 20019 1817 1615 14 13 12 11 10 9876 54 3 2 1 Printed in Spain by GraphyCems A catalogue record for this publication is available from the British Library ISBN 978-1-108-70493-9 Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLS for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. This work has been developed independently from, and is not endorsed by, the International Baccalaureate (IB).
Contents How to use this book Introduction to the English A: Language and Literature course Section 1: Text types Chapter 1: Exploring text types Unit 1.1 Images and magazine covers Unit 1.2 Advertisements Unit 1.3 Film and commercials Unit 1.4 Political cartoons Unit 1.5 Comics and graphic novels Unit 1.6 Street art Unit 1.7 Speeches Unit 1.8 News articles Unit 1.9 Blogs Unit 1.10 Short stories and novels Unit 1.11 Playscripts Unit 1.12 Poems Section 2: Global issues for the learner portfolio Chapter 2: Beliefs and values Unit 2.1 Femininity Unit 2.2 Masculinity Unit 2.3 Beauty vi 14 19 24 30 34 43 52 58 67 77 91 108 126 Chapter 3: Identity, culture and community Unit 3.1 Racism Unit 3.2 Colonialism Unit 3.3 Immigration Chapter 4: Politics, power and justice Unit 4.1 War Unit 4.2 Protest Unit 4.3 Politics Section 3: Assessment Chapter 5: Paper 1: Guided textual analysis (SL/HL) Chapter 6: Paper 2: Comparative essay (SL/HL) Chapter 7: HL essay Chapter 8: Individual oral (SL/HL) Glossary Index Acknowledgements 144 163 185 206 221 240 257 278 300 320 338 346 350
How to use this book The introduction gives you confidence in (@o 31 L] the course guide and assessment, including transparent assessment criteria. How to use this book Introduction to the English A: Language and Literature course L section 1 Text types e Section 3 takes an activity-driven approach to develop skills in all four assessments. [ Section 1 deconstructs — " a range of text types w including graphic novels | and advertisements. | Glossary . | Section 2 Global issues for ‘cknovledgaments e Section 2 is structured — s AeSrac o ol around nine global issues. . @ Each unit progressively 23 = explores the three areas of exploration. Unit 1.7 Speeches Word banks provide —__ key terms (Criterion D - = i thwtarical device . com thetorical = . . . in assessment). These = ey sy e e e s e " Clear Learning objectives are compiled in the develop the skills o analyse how context helps shape the language and | o estes ensure you know where glossary. you are going. ~ Getting started features R activate existing B R i ke ey - oy o D et g o e e knowledge and help you RS e b T e T engage with the topic. e 3 ww»flflmmm Mm © Antitheshs: contr sting two appaaing idess in coniecutive fading grounds wh Setances. such 2 any arscaled, ut ew ae chosen .mmmm..m.nmwa.m G O Wanston couroni Vi
Model texts are analysed — to help you understand the key features of the text type. Step-by-step writing sequences provide differentiated support where required. \’\ How to use this book Exploring text types This 2nd edition has been completely revised and contains — many more texts. i '“W‘W'“&nwm»mmn—x% T ) whe've ot 30 | P S e 15 by i e g s t0gh, becast o st e did i his date RS thia defining mpment. charge has come to Amenca. [ | lmm-«m-nhi-lmgdum;‘m::‘mnufl . T o) e e g i ey ad o iengh o h g ol ho A R et ol okl ey % ot e ay and s sieep. ey suengls s e ot oy heat o ahi brsved e biter £ and e bt . o 0 T i e will b o Ot clinly il b s Wy 1t g Chr o et vt o A | e e e b Wthwmnmxmw gikaityatoey | o » et il stk o e o s i \‘ vy decision nfl-rfim tein e B bmu-n v i L oyl i e e . Uniit 1.7 Speeches ', There are ideas Over R to you / for integrating e e | I = ! s ot i by e o o o 30 R video. g AT v e T T o Wit it putpone of s pecch cted Chocalae o™ T which e ot e g 0 s . Wit the et of e speech o ot 0 Lok up deiicion o the Wi ‘i, . il asd oo Which okl o wore e e the Chxolae B pecch? Give exanpie o wppor Yot aswer. 746 oy et s i s o S o it s s o Tie s eps o ke i ey 4 el xperence o s o & o s st o-dher s st e ha s 0 Wy a e o b e i o o s e e Wi o Y et e o o 3 thewn ey Thi s e opsion, o o stement Aoty you s he werkd o b the wod il e © Busgiue g 6 pople o taret mudienice W sl e sl 1 it Ui Wt dot + decripton o s contet i which yon cou dfeer 3 speeh 12 thee el Uy e 1 e yout g o i, s oo sy cormile sdoping 4 perioma: s st o prten s b e you e ot 4 Crete s i o e whic sl evien it s s g include s fw by o Eriderce 1y b he from ty sunce e iy o o 01 hom i experiences S o ey s, deerpoon o ot st Yo roposs Dy o (e e of o speech il e ber i 13 e o Vot e 10 dncum cxpes o fo 3ppRtsngage nd oo o the st | 7 o, g < of e ey your g, ne sme of the hesscaldevice ity e e i, s cppoty e e s A i ot g il | for assessment. 5 W sourapeech s e wacher comples dea of Ak then o Gsdhick sl ing b e . et o o v e 4 ) o B o o e Thie sy be pcce of formane esinent 844 ool 0y Pape o iy de DAL 3 e e 0 i s e sous e b oo cansae. i e g o O oute of o e o oo e before youdeleryont speeh a1
IB English A: Language and Literature Politics, power and justice __— Each chapter has 1d poets write about war? questions to activate 0 language to protest socal inequalty? prior knowledge. used in efection campaigns, public speeches and signs Each chapter has clear objectives to help you navigate the book. g oo e + become famiiar with a cange of texts that deal with protest against injustis or socal inequality « fear about the contexts where protests have occurred i different places i times In Hitory « understand the different traditions of inerary eitcsm features International foster mindedness open- — International mindedness Intermationally minded people question the status quo. As you sxplore this indedress 3ed glokil o R,k o nd v i o e perspectives. ; Getting started ——— Tasksare b ‘ ) designed o ) to promote collaboration. The context of texts is explored. viii
How to use this book 4 Politics, power and justice Texta1s N ~ This edition includes all new images including many more visual texts. FREE SOUTH AFRICA Toxt .14 Text 416 AOE questions — 2 n'é!A reference the areas ~ —— of exploration. Mow can the ‘meaning’ of 2 text be constructed, negotiated, expressed and interpreted by roaders and writers? Discuss your cass's answers to this question in response {0 Texts 4.13-4.16. What can you Iearn about Keith Haring, Angela Davis, the Labour Party and the hippie movement by studying these (mages on thelr own? What can you earn witho researching any contextual fnformation and analysing ther? Unit 4.2 Protest _— CAS and TOK' Howcanyou ke features provide st i qurih additional activities, et cas while Extended essay s an oppartuny to The seven key concepts are integrated \ ) - — verkon . features provide throughout. These ~ concerr o can ke pne sample repsearch activities help develop i{"w"';:, ot e o o o pr Gy b o e questions f}: rough st-century doing. skills e s e e e i _- Readers, writers and texts The areas of ~ i exploration provide e the backbone to Sitting ~ The course takes . W s 83 L i each unit. i s T Rl L T e an activity-driven H oy oy kI . WA T gy 0 PORO b bt ool i approach, rather than e 30 .o Ty v . Ty ! oy e o o ot Wi oy using explanatory e o et o e couln o, vt P e narrative. s v e o o gy o bl bl ok oyorse wesaler o, 1 e posinan.who had o walk & olves ltors, ha ha 1o o somotnng. Ho asked tham 0 eave. They saxi nOIng. They sal. They sat Thy stare, incieret, Ha s e wosh cal he peices. The polce gine 223
IB English A: Language and Literature 4 226 Politics, power and Justice Text 418 A Song: ‘Men of England’ Percy Bysabe Sheley 1819 Wherene weae wilh i and care “The e b your yrants weat) Whersons e and el and o s From the craic 1 the geave Thore ungesicul dones b would Deait st s - na. diok eaw bl Wheecdoer, ees of Fagland. forge Mg wpen. chsi, and s, 10 Thatthese inglens s oy wpoll The forel prochie of your i der 15 Wit your i sl wih you o Tho ey s 30 Tho weald v e, The b ye weny; The arms e fomge, ancaer hears 0 Sow et — b et 4yt s et g bezp Wt - et the il wear Fosge s — i your delence b best Stk 0 yvur ullaos, ol and el - 1 Il ye deck i vl Wy bk the chainsye Wwghtr Ve see he sy i) phance o ye: Wt plogh s s s o s Trce yuor rave s bl your o » Anct wavy your windiog st - ll e Fagand e your Sepuleh W ki b / Forthe o wlio by ye how The areas of — exploration are addressed progressively. o= —— Suggestions for building a learner T portfolio appear throughout. Unit 4.2 Protest Time and space 2.9 Anor gy s e it sl e i emes raphical critcium Th sl st iy Manlodg o the o’ e 10 L e s i o o thes s o i oo 6T 4182 Wl ey fnd et et 1 v scsh Wi = W ey By Sy » Whar Vi o polial Ll Shelley propge Witk of e b e W el e i How wen oot endrs o Kol Mare ind Mt s by Sty 210 i o ey e (Tew 414 oy enerpeid g o S hat Yoo ch e it o At 2 s th et e bl s o cni o et et o 410 e o spei by Mot Coafin o 1442 The annonton ak i ofthe peech. i, e e U bt o s she o I o s dhe s il s the s 1 the et i he A ’ An B learner i an Ingirer. To. ot Ty what o by e bt Gt s o the o g#% Into the habit of. Wit were i vt s iston i she oot 25king cuestons: toxts ., Ao i e v ot acson ooy them, as has been e dore with Text 419, . ik i pecel s e e o e o he e fporant speechesofthe VRIS AOE question an How do readets approach texts from different times and diffesent cultures B from their own? Etfectve reseorch strts by askin appropriate questions. The. annotations to Text .19 show you how 10 ask ‘questions of primary sources. These types of auestions should guide you on your search for secondary sources, when analysing toxts Text 4.19 might seem like s atefact from different time and place. By asking questions about the text,as as been done in the annotations, we have a starting point for researching s context. Apply this method to other toxtsthat you may not understand. 227 Literature and poetry (and song lyrics found online) are integrated throughout. You can be confident that the ten attributes of the IB learner profile are being developed. The five approaches to learning develop metacognitive skills to make you a better learner. The work to integrate these approaches has been done for you.
This coursebook — provides you with a range of contemporary ‘language’ texts, because you told us that was what you found most timeconsuming to source. Wit Wi s S o f v e B W gt | paped Wi s bt e s o —— W A 228 How to use this book Politics, power and justice International texts are Textas g % d Quit Indi - from five continents. uit India Miatna Gand 1942 Mahata G sought ndiasindepardence from Great Biai through on-volent protest. s e R4, e e betor you e o things | v T s (g very e and e comade e fom e e pinc ofview from whic | 47 placia e before you. 1 ak yn 10 comide i 1o 3 i 5, b sl uppens f . y0u Wil beenfined (0 ciry ot ll. Toay 1wl be o reat respouiity. There e peopl who ask e whetbe | am the 3 - it 1 wak i 1928, o Whether be has bee iy chan . You e e tht 1 did then, I a . myevaphsson 1 s s stronger, There 10 ootruditian betveen the resent esaluion and m previoun wriings i Occasios ik the prsent do ot occur m everybody's and b el i —— oy e L wa ou 1 Koo and el thee i i bt prc AT ol tha L cying ) doie o The draft onlton o the Worhing i Comitie s bused on A, b contnmpaied tpuggl iy b s rocs 1 Abime. 1 therelore. her 4 any aran o o s st Gt i Abis o1 I8 etied O 0. i ot S o i i, Lot ¢ explaia ny postion sty G ha s (0 me s s i the capon of Abimga. Land iny Al ae o out rl oy, 1 1 the peset i, whe hecarth s being 3 — worched by thellames of Himsa and csing for deliernce. sl 0 ke we of he Guogiven talnt, Gou il o orge e i | dhll b uded wmorthy o the S it act .| s ot e s ey ook o, e Russ 4l Gl are thresend e b o 3 driv o et sl sl g o s x —— iependee. 1 il e ol gesera s b ofen koown (0 230 Politics, power and justice Intertextuality: connecting texts s e i protent g Thes s e bcrnade spe Thes e f g e b s nd panchy, evpoem s g e UK by 2016 T prost ey i, he S Werkd W e » How dic he ¢ Cat Do 0 41400 sl o he - T i s (T 80y rtet g i What des et b i W ke Yon oyt o s ch f Text420
IB English A: Language and Literature Unit 42 Protest Opportunities i 213 Al e g i s e e o Hone e e e o e ate differentiated presented for | e S e T e B e i A cch penon i your s 1 vt s Th s e Scrch o s e bos he contess i e o e s i Try . ol e o et comneed o, modher st o research e e e e e e K yoior iy Haiuh off wy rights. S o e o T bbb o e bole okl e g e v ol e s b g, Ml o ot oo i Ny e e Lok b . t g mEm - ae ks e Make s Gt A o i mmm-rmm&mmmwm (it 213 1 you may i something about Us politcs, This section addresses Towards assessment / Faper 1, Paper2 and/or the individual A s ot iy A ) ol o’ ke sl e vomemene oral. Sample questions - e i and responses engage I you to actively develop P skills to approach these assessments. Unit 43 Politics T starta with & ot your so. Ands0, ' calling on you - on May 2 40 mark your bllo for change. Together,we can o this We an show tha: Hets, o priority o excaton,th enironment and wark! e Here, we o o use words ke “change.”“hope.” and “progren Here, we dars o Took 35 eyond old politics e the uduciy 1o ok for wrmething better, Here, we dane o ook cynicism discty inthe eye. and have fith tha the best has yet 1o ‘come. And expeialy bcause thre is so o 0 do. “The e s coic for someone 10 take on those responsibiis We e eudy 0 ke on this challngel It o't be done without you. Lethvork 40 topether.Lers oll up our sesves and sart the woek ightmow, Thank you! 3204 ey o will e o sl of Tews 438ty e o Actvny .13 e e sl s ot s b provided e o o s s s o the pprosch Gk by s sdent Ho e e do et ofthe e hat s e o = Compare your amlyus of Tse 4. o Ao i e sl i s s it fo Pt | e begioning ofs ook Al dncu sur k. et the a5 the iple P 1 eip sl Howe ol you snpre your s by kg dhe o o ol e SRS i e it ms e dilhs e el e T s Annotated sample Paper 1- Sample 1 learner responses help Guiding I question you understand what b e b e i is expected. Anatysis 101201 ack Layton delivered 3 speech t i follow New Demcerats i‘Quetbec ncpuraging them to vote or i s the new Frime Ministe of i ‘Canada. His use of language, especialy his s of aaphiors,icelon and bl pronos, s PRl of speech wrtingand helpe i achievs his BUrple ——— Tt pod e ©f eting pesple 1 v for s New Demaerats pary. o e e e Poltcn o diferent. specchis AG@RIOEAf e often he sepeiton of ull of anaphiora, a and word ack or Lyt phrsse t speech the —__ QL o begining ol u et e ot g s peech e Mt ket of diecan ard pace, o that tenrs ar captured and eagee o lear o ot s gy Ay y s oo e 0 Layton speaks of a ‘wind of change’ ine 3). Then he eliborates on this haige by starting three sentences with the word 'wind” A wind that ‘blows along the 5t Lawrence River” line 3),'A wind of renewal coming )1o s far s By (v 5, and Wi fom very commor of Québec” !
How to use this book Unit 42 Protest 2198 Hor sl vt bt democacy. o e o, sl e by e ik e o e one st you dre et 1 Higher level extension e tht you i oty s | ety iy l e e i, 0 o s hy o g e i o oo o ey Thes i ot o o e e wh st o o e S 151 | { i ot s ity yo il e o e 1 b | & ooy b the st et o e s o e ey e i HL Moo { 1 “enocacy i ok i b ober e s i~ kil N | © Thoe camvon Mot eys o e e bl - Hillary Clooss 4 “The st g o democracy e it comenstin wilh he seage vter { Whnton Chutehil Dmmericy cannon succced e those o cxprs thes e e grepued 0 e il The e g o et therefve, i e - et 1 Roouerel | Fhcmoeracy st b g et s ol 3 ey Vo e el e | o der - s | & Demmgricy st ol s~ Korl Mare | ooy b b e tht s we Sl e govesed i b e s Giorge Bermand S A e ety Wl it 4 e e o doee s o gt S Kol Wit G ety W o e g e~ Rond Reaga il decin ot democrcie o deocaces degererte ot dspotsio - st Uy e 5 e of e s e of i, Sl peple sl o o Dty it et sbont i it geople e, Derpocray e eadimg e pople vl Mg Thchr How can different texts offerdifferent perspectives on a topic or theme? Akl xlecl e S sy 051 ol e s damoaacy For any other topic that you are- find 3 range of nteresting ‘quotations, discuss them and write about them In your learnar portiofi. e Nt G 4 . s 0 et wold you 1 As» ch ke Tuof ey gl e o he LN 0 e 0 i h e workd beconis 4 s et s for svryone. 25 Unitazprotest s b Ml Yoo, whit ok yo ket Why would o ik | r el it i e s s o e o, Moo G spech Ceat 4195 | Ak & o s s e 222 10 Achiviy 219y were sk ke T o bl iy o plly | prene. Chorne o of thes s e+ pesch s i, iy gt deive 1+ Youth Tahove s o the Unied Ntk You 1y o peios et b ey e S O et Yo spee sl b eWA 110w A e, o oy e s e | o et whes pee e e e s o e e, O Yoy i 159 o pech 0 v s b Lk Ui 17 4] che peehe it ook Tont 422, b, Further reading — 1 includes suggested I Further reading texts in translation { and audiovisual i, oy Gt Ol . i o' o it S et e gkt o o < o St recommendations. i by ot My o T, Mt L K spec e sty i beswed n‘prose. e o fson s iy tes for your g igage snd Ueratue coune The texts il e yo s el gt ks che st o 4 ety et o R oy Acte] Kt o vxcelent o of he Afan sl Conrea ey Aot spathe s Sush Afics o he 14 & There sy e o the oo Heading L (FRL) whe e g s fpratios, ot Mgl o s Gl [ -4 (e i v < e o gy aclumned vl by Massel P ornaly i Spaush. | e 4 Argeocsn pris. il ot et o i e { S e -y ekl / Reflect features REFLECT enable you to look B T S e e t wh o back on the unit, W . e i L develop learning ity el i oo skills and document e e e S e 3 A G, s o a1 i o ideas in your learner portfolio. | { { 239 —— T ———
Introduction to the English A: Language and Literature course Congratulations! You have signed up for English A: Language and Literature for the IB Diploma Programme. This course will take you on a journey into the worlds of textual analysis, communication studies and language arts. At the heart of this course 1s the question: ‘How is meaning constructed through language and for what purpose?’ By ‘language’ we mean the methods that writers use to construct meaning, including the use of images, colour, lighting, camera angle, headings and, of course, words. By ‘texts’ we mean anything that conveys meaning, such as poems, speeches, song lyrics, films, posters, websites, magazine covers, images, tweets or blog entries, to name just a few! With such a broad landscape to explore, it helps to have AOE questions and definitions of text types. This introduction provides you with an overview of the course curriculum and the assessment components. It also explains how this coursebook has been organised and the support it provides for your course. creativity, culture, community, COQCG pts identity, perspective, transformation, representation femininity, masculinity, beauty . gIObal ISSU@S racism, colonialism, immigration war, protest, politics, etc. areas of readers, writers and texts * time and space exploratlon intertextuality: connecting texts international mindedness novels, plays, poems, graphic novels, texts & Works lyrics, advertisements, cartoons, photographs, letters, websites, etc. Xiv
Introduction to the English A: Language and Literature course Non-literary texts What will you study in this course? The simple answer is ‘texts’. At higher and standard level you will read a range of non-literary texts from advertisements to brochures. Technically, you must explore at least six different types of non-literary text. In practice, you will explore many more, considering that the definition of ‘text’ is quite broad.You may also find that the difference between a ‘literary’ and a ‘non-literary’ text is not always clear. This, however, is an ambiguity worth embracing and discussing as a class. Furthermore, the non-literary texts that you explore in class should have a ‘sense of authorship’. This is to say, for example, that each photograph should be explored in relation to other photographs by the same photographer, advertisements should be analysed in relation to other advertisements from the same campaign, speeches should be understood in relation to other speeches by the same author and so on. Here are a few suggested text types for you to study. While it is neither a prescriptive nor an exhaustive list, you should be familiar with these text types in preparation for Paper 1: Guided textual analysis. Some of these text types are explored in Chapter 1 of this coursebook. advertisement (Unit 1.2) encyclopaedia entry appeal essay (Chapters 5-7) biography film (Unit 1.3) blog (Unit 1.9) guide book brochure/leaflet infographic cartoon (Unit 1.4) interview commercial instructions comic/graphic letter (formal or informal) novel (Unit 1.5) magazine cover (Unit 1.1) diary manifesto email memoir news article (Unit 1.8) playscript (Unit 1.11) photograph (Unit 1.1) radio broadcast speech (Unit 1.7) street art (Unit 1.6) TV show travel writing webpage parody pastiche Literary works At higher level you will read six literary works: ® two works from the prescribed reading list (PRL) for English ® two works from the PRLs of other IB-approved languages, translated into English ® two works that are freely chosen, either by you or by your teacher. These may also be works in translation. For each of the areas of exploration, you should have read at least two works. Across these six literary works, at least three literary forms, three time periods and three places should be represented. Although it is not a requirement, you are encouraged to read an equal number of works written by men and women. Ac standard level you will read four literary works: @ one work from the prescribed reading list (PRL) for English ® one work from the PRLs of other IB-approved languages, translated into English ® two works that are freely chosen, either by you or by your teacher. These may also be works in translation. XV
XVi IB English A: Language and Literature For each of the areas of exploration, you should have read at least one literary work. Across these four literary works, at least two literary forms, two time periods and two places should be represented. Although it is not a requirement, you are encouraged to read an equal number of works written by men and women. A literary work is defined as: one novel, play, autobiography or biography ® two or more novellas ® five to ten short stories ® five to eight essays @ ten to 15 letters by the same author ® one very long poem or a 600-line selection from this poem ® 15 to 20 poems (Unit 1.12). Note:Where more than one text is read as a ‘work” (such as poetry, short stories, letters or essays), these texts should have been written by the same author. Chapter 1 includes units on short stories and novels (Unit 1.10), playscripts (Unit 1.11) and poems (Unit 1.12), giving you a toolkit to deconstruct any of these literary works that you are exploring in class. Areas of exploration How will you study these texts? The Language and Literature course consists of three areas of exploration, each of which asks six AOE questions. Readers, writers and texts ® How and why do people study language and literature? ® What are the different ways in which people are affected by texts? ® How can the ‘meaning’ of a text be constructed, negotiated, expressed and interpreted by readers and writers? ® How does the use of language vary among different types of text? ® How do the style and structure of a text affect its meaning? ® How can texts present challenges and offer insights? Time and space ® How can cultural contexts influence how texts are written and received? ® How do readers approach texts from different times and different cultures from their own? ® How can texts offer insights into other cultures? ® How can the meaning of a text and its impact change over time? ® How do texts engage with local and global issues? ® How can language represent social differences and identities? Intertextuality: connecting texts ® How do texts follow or move away from the conventions associated with different types of text? ® How do the conventions of different types of text develop over time? ® What can diverse texts have in common?
Introduction to the English A: Language and Literature course ® How useful is it to describe a work as ‘classic™? ® How can different texts offer different perspectives on a topic or theme? ® How can comparing and interpreting texts transform readers? (Adapted from the IBDP Guide on Language A: Language and Literature) It helps to think of these ‘areas’ as ‘lenses’ or ‘approaches’ to reading. For each text that you explore in class, whether literary or non-literary, you may find that multiple questions from multiple areas are relevant. For this reason, your teacher may mix questions from different areas of exploration into each lesson. Chapters 2—4 of this coursebook take an integrated approach. Each of the three units in these chapters focuses on a particular global issue. These units give you the opportunity to explore a range of literary and non-literary texts, and to ask questions from all three areas of exploration, starting with ‘Readers, writers and texts’ and ending with ‘Intertextuality: connecting texts’. Each unit concludes with a ‘Higher-level extension’ for broader and deeper understanding of the global issue being studied (see ‘Learner portfolio’ for a definition of ‘global issue’). Concepts The questions from the areas of exploration aim to help you gain a conceptual understanding of texts. What is meant by ‘conceptual understanding’? ‘Concepts’, as the educational consultant Lynn Erickson has outlined in her research, are mental constructs that are timeless, universal, broad and abstract. This is to say that texts are not just about the people, places or topics in them; they are about bigger ideas that are shared with and explored through other texts. Gaining an understanding of these bigger ideas or ‘concepts’ will help you understand and attach meaning to the world around you as you explore texts. While there are hundreds of meaningful concepts in the Language and Literature course, the IB has selected seven concepts which you will explore explicitly: ® identity ® culture ® creativity ® communication ® perspective ® transformation ® representation. This coursebook integrates these key concepts into the exploration of texts and global issues. Regular Concept features appear throughout the coursebook to help you think about how these concepts relate to what you are studying. Assessment Your understanding of the coursework and the skills that you have acquired are assessed through three assessment components at standard level and four components at higher level. The assessment components can correspond to any or all areas of exploration. Xxvii
xviii IB English A: Language and Literature Standard level ‘ I LT Paper 1 35 1 hour 15 minutes 2 hours 15 minutes 35 One commentary Two commentaries on one of two on each of two non-literary texts non-literary texts Paper 2 35 1 hour 45 minutes 25 A comparative essay on two literary texts that haven't been used for the 10 or the HL essay, based on one of four unseen questions External assessment HL essay A 1200~ 1500-word 20 essay (coursework) on a literary or non-literary text and ‘line of inquiry’ Individual 30 A 10-minute oral and a 5-minute discussion on 20 oral (10) two prepared passages chosen by the student: one literary passage and one non-literary passage, connected by a ‘global issue’ of choice Internal assessment Paper 1: Guided textual analysis Standard and higher level students receive the same Paper 1 exam, which includes o unseen passages. Each passage will be roughly one page or 30 lines long, accompanied by a question and taken from a broad range of non-literary text types, including websites, advertisements, comic strips and letters. The only difference between standard and higher level is that SL students write only one analysis on one of the passages of their choice. HL students write fiwo analyses, one on each of the passages. For this reason, HL students have 2 hours and 15 minutes, whereas SL students have 1 hour and 15 minutes to complete the task. At both standard and higher level, Paper 1 counts for 35% of your final grade. The assessment criteria for Paper 1 are the same for standard and higher level. The assessment criteria are applied twice at higher level, once for each of the analyses. They can be found at the end of this introduction. See Chapter 5 on Paper 1 for further guidance on this component, sample student responses and examiner comments. Paper 2: Comparative essay Standard and higher level students of English A: Language and Literature and English A: Literature receive the same Paper 2 exam. It includes four unseen essay questions, of which you will answer one by comparing fwo of your literary texts. These must be literary texts that you have not used for your individual oral or higher level essay. The essay questions will encourage you to explore theme, context, purpose, style and structure. Both SL and HL students have 1 hour and 45 minutes to write this essay. At standard level, Paper 2 counts for 35% of your final grade. At higher level, Paper 2 counts for 25% of your final grade. The assessment criteria for Paper 2 are the same for standard and higher level. They can be found at the end of this introduction. See Chapter 6 on Paper 2 for further guidance on this component, sample student responses and examiner comments.
Introduction to the English A: Language and Literature course HL essay Higher level students write an essay of 1200-1500 words on one literary or non-literary text. It must be a text that you have not already used for your individual oral and do not plan to use for your Paper 2 exam. The essay should explore a ‘line of inquiry’ of your own choice. Aline of inquiry is a kind of research question. You are advised to draw from the seven concepts and the 18 AOE questions for inspiration when designing your line of inquiry. It helps to think of this piece of coursework as a shorter extended essay, with a research question, thesis statement and primary source. Although they are not required, you may want to include secondary sources, citations and a bibliography. The HL essay counts for 20% of your final grade at higher level. The assessment criteria for the HL essay can be found at the end of this introduction. See Chapter 7 on the HL essay for further guidance on this component, sample student essays and examiner comments. Individual oral The individual oral is the only component of assessment that is assessed internally. Like all internal assessment, it is marked by your teacher using the assessment criteria and moderated by an 1B moderator.You will select and prepare fwo extracts for your oral — one literary and one nonliterary - which are connected by a common ‘global issue” of your choice.Your teacher should be made aware of your global issue and the extracts that you have selected at least one week before your individual oral is conducted. Both extracts should be taken from a ‘body of work” that has been explored in class. In other words, an extract is a scene from a play, a poem from a poet’s collection, a passage from a novel, a page from a graphic novel, an advertisement from a campaign, a still from a movie, a section from a series of speeches by the same author or one of several blog entries — each text should have a sense of authorship. You may prepare a one-page outline of no more than ten bullet-pointed notes to take with you to the oral. The oral must address this prompt: ‘Examine the ways in which the global issue of your choice is presented through the content and form of one of the works and one of the texts that you have studied” (IBDP Guide on Language A: Language and Literature) In the first 10 minutes of your individual oral, you will relate the extracts to the bodies of work from which they were taken, analyse them and connect them each to the common global issue of your choice. After this time, you will engage in a 5-minute discussion with your teacher in which you develop and explore further your ideas on the texts from which the extracts are derived and your chosen global issue. This component of assessment counts for 30% of your final grade at standard level and 20% of your final grade at higher level. The assessment criteria for the individual oral are the same at standard and higher level. They can be found at the end of this introduction. Chapter 8 provides further guidance on this component, sample student performances, their outlines and teacher comments. Learner portfolio Throughout your studies you will explore a range of texts, both literary and non-literary, on a range of global issues. A ‘global issue’is a social, global or artistic theme, topic or area of study, such as feminism, racism or war.Your teacher will ask you to answer questions, write tasks, find texts, reflect on activities, take quizzes, write practice papers and give presentations. It is important, especially in preparation for the individual oral, that you collect your work in a portfolio and connect each entry to a global issue.You may do this in an online or offline format, such as a journal or blog. You might find it helpful to create a kind of ‘tagging’ system early in your course so that you can find additional materials later, before the final assessment. Chapters 2—4 introduce you to nine global issues, each of which invites you to engage with between eight and 15 texts, both literary and non-literary, by doing activities with your teacher and classmates.You can record your activity participation in your portfolio. Xix
XX IB English A: Language and Literature Connecting to the core The Language and Literature course is part of the Diploma Programme, meaning that the IB core should be integrated into your everyday learning. This coursebook shows you where and how to make connections to the IB core. Even if you are not doing the entire Diploma at your school, you are encouraged to make these connections: Theory of knowledge (TOK) asks ‘How do you know what you know?’ Language is considered a way of knowing and the arts are considered an area of knowledge. Textual analysis, the study of how meaning is constructed, relates to TOK, as you explore weasel words, argumentation fallacies, bias, connotation and many other concepts. The extended essay (EE) is a 4000-word research paper that allows you to explore a topic of your choice. Many students choose to write their EE on one of the three ‘categories’ for Studies in Language and Literature (Group 1 of the DP). Example research questions are suggested in each unit, where relevant to the unit content.You can use these suggestions as a springboard for your own research if you choose to write your EE on English A. Creativity, activity, service (CAS) encourages you to learn by reflecting on experiences that you have had outside class. You may want to integrate these reflections into your language and literature studies.You may have intercultural experiences that prove valuable for class discussion. Furthermore, you may find the skills that you learn in this course useful for your CAS activities and projects. The learner profile is a set of ten character traits that you are encouraged to explore throughout your IB learning career. This coursebook aims to develop learners who are: inquirers, knowledgeable, thinkers, communicators, principled, open-minded, caring, risk takers, balanced and reflective. The approaches to teaching and learning (ATL) are a set of guidelines given to 1B teachers about the pedagogy and methods of delivery that are inherent to the IB classroom. This coursebook aims to develop five approaches to learning: thinking skills, communication skills, social skills, self~-management skills and research skills. International mindedness is at the heart of studying the 1B Diploma. It encourages you to look beyond the borders of one country in order to understand globalisation, intercultural awareness, and that ‘others, with their differences, can be right’ (IB mission statement). Over to you This coursebook cannot teach you English A: Language and Literature. It offers a starting point for understanding both the course and the texts that you see every day around you.You live in a world that is full of texts, from billboards and commerecials to songs and speeches. To understand how people construct meaning through language is to understand how the world works. This course and this coursebook aim to help you develop an appreciation of language and literature. But you are the one on this exploration. So be active, notice more and —above all — have fun!
Introduction to the English A: Language and Literature course Paper 1: Guided textual analysis Criterion A: Understanding and interpretation What is assessed? Understanding of what is revealed and inferred in the text, using supporting references. Description of level 0 The response does not meet the standards described by the following descriptors. 1 There is little understanding of the literal meaning. The response seldom supports claims with evidence, or supporting evidence is seldom appropriate. There is some understanding of the literal meaning. The response supports claims with evidence that is 2 ) L sometimes appropriate. 3 There is an understanding of the literal meaning and some inferential understanding. The response supports claims with evidence that is mainly relevant. 4 There is a detailed understanding of the literal meaning and a convincing inferential understanding. The response supports claims with relevant evidence. 5 There is a detailed and insightful understanding of literal meaning, and a convincing and nuanced inferential understanding. The response supports claims with well-selected evidence. Criterion B: Analysis and evaluation What is assessed? Understanding of language, style, and structure, and the ability to critically evaluate how the writer’s choices construct meaning. Marks | Description of level 0 The response does not meet the standards described by the following descriptors. 1 There is little analysis of how language and style are used. The commentary is descriptive, 2 There is some analysis of how language and style are used. The commentary is mainly descriptive. 3 The analysis of the ways language and style are used is mainly appropriate. i There is én appropriate analysis of language and style. Some of the analysis is insightful. There is some evaluation of how meaning is shaped by the writer’s choices. There is an insightful and convincing analysis of the ways language and style are used. There is very good evaluation of how meaning is shaped by the writer’s choices. XXi
xxii IB English A: Language and Literature Criterion C: Focus and organisation What is assessed? The ability to organise ideas in a coherent and focused way. Marks | Description of level 0 1 The response does not meet the standards described by the following descriptors. There is little organisation of ideas and no clear focus in the analysis. There is some organisation of ideas and a degree of focus in the analysis. There is adequate organisation and coherence of ideas, and some focus in the analysis. There is good organisation and coherence of idea, and adequate focus in the analysis. There is effective organisation and coherence of ideas, and a good focus in the analysis. Criterion D: Language What is assessed? The ability to write using language which is clear, accurate and varied, in an appropriate academic style and register, and using relevant terminology where appropriate. Marks | Description of level 0 1 The response does not meet the standards described by the following descriptors. There is little clarity, accuracy, or sense of register, and the language is rarely appropriate. There is some clarity and accuracy, and some sense of an appropriate register, although There are errors. There is adequate clarity and accuracy, and the register is generally appropriate, with occasional errors. There is good clarity and accuracy, and the register is consistently appropriate. There is very good clarity and accuracy, and careful use of language. The register is appropriate and effective. .
Introduction to the English A: Language and Literature course Paper 2: Comparative essay Criterion A: Knowledge, understanding and interpretation What is assessed? Knowledge and understanding of the literary works, and how well this is used in response to the question to show similarities and differences. Marks | Description of level 0 The response does not meet the standards described by the following descriptors. There is little knowledge and understanding of the works, and little comparison or contrast of the works 52 in response to the question. 34 There is limited knowledge and understanding of the works, and limited comparison of the works in response to the question. 56 There is satisfactory knowledge and understanding of the works, and satisfactory comparison of the works in response to the question. 7-8 There is good knowledge and understanding of the works, and relevant comparison of the works in response to the question. The discussion is sustained and convincing. 9-10 " There is very good knowledge and understanding of the works, and insightful comparison of the works in response to the question. The discussion is perceptive and persuasive. Criterion B: Analysis and evaluation What is assessed? The analysis and evaluation of how the writers’ choice of language, technique, and style are used to create meaning and effect. How well analysis and evaluation are used to show similarities and differences between the works in response to the question. Marks ‘ Description of level 0 The response does not meet the standards described by the following descriptors. 1-2 The response is descriptive, offering little relevant analysis. The response offers some analysis, but is mainly descriptive. There is limited comparison of the = writers’ choices. 56 The response offers relevant analysis, and some understanding of the ways in which language, technique, and style establish meaning and effect. There is some adequate comparison of the writers' choices. 78 The response is analytical and evaluative, offering understanding of the ways in which language, technique, and style establish meaning and effect. There is a good comparison of the writers' choices. The response is analytical and evaluative, offering a perceptive and persuasive understanding of the ways 9-10 in which language, technique, and style establish meaning and effect. There is very good comparison of the writers' choices. XXiii
XXiv IB English A: Language and Literature Criterion C: Focus and organisation What is assessed? Structure, focus, and balance in expressing ideas. Marks | Description of level 0 1 The response does not meet the standards described by the following descriptors. There is limited focus on the question, and the ideas are mainly unconnected. There is some focus on the question and some ideas are connected, but not always clearly. The discussion of works may lack balance. There is mainly agood focus on the question, although this is sometimes lost. There is reasonable balance and general sense of cohesion in the development of ideas. There is a good focus on the question that is generally maintained. There is a good balance; ideas are well connected and develop logically. There is a clear focus on the question throughout. There is very good balance; ideas are connected rsuasively and develop in a logical and compelling way. Criterion D: Language What is assessed? The ability to write using language which is clear, accurate and varied, in an appropriate academic style and register, and using relevant terminology where appropriate. Marks | Description of level 1 The response does not meet the standards described by the following descriptors. There isftte clarity, accuracy, orsense of register, and the language is rarely appropriate. There is some clarity and accuracy, and some sense of an appropriate register, although There are errors. There is adequate clarity and accuracy, andthe register is generally appropriate. There are some errors. There is good clarity and accuracy, and the register is consistently appropriate. There is very good dlarity and accuracy, and careful use of language. The register is appropriate and effective.
Introduction to the English A: Language and Literature course Individual oral Criterion A: Knowledge, understanding, and interpretation What is assessed? Knowledge and understanding of the extracts, and the wider works and texts from which they are taken. The application of this knowledge to the global issue chosen, drawing conclusions with reference to the works and texts. m Description of level 0 The response does not meet the standards described by the following descriptors. Little knowledge and understanding of extracts, texts, and works in the context of the global issue =2 chosen. Supporting evidence is limited or inappropriate. 34 Limited knowledge and understanding of extracts, texts, and works in the context of the global issue chosen. Supporting evidence is sometimes appropriate. 5.6 Satisfactory knowledge and understanding ofextracts, texts, and works, offering an interpretation in the context of the global issue chosen. Evidence is mainly appropriate and supports the development of ideas. Good knowledge and understanding of extracts, texts, and works, offering interpretation throughout in s the context of the global issue chosen. Evidence is appropriate and supports the development of ideas. There is excellent knowledge and understanding of extracts, texts, and works, offering a compelling 9-10 interpretation in the context of the global issue chosen. Evidence is appropriate, carefully selected, and supports the development of ideas well. Criterion B: Analysis and evaluation What is assessed? Knowledge and understanding of the extracts, and the wider works and texts from which they are taken; . how this is used to analyse and evaluate how writers’ choices of language, structure, and style create a perspective on the global issue chosen. m Description of level 0 The response does not meet the standards described by the following descriptors. The oral is descriptive, or analysis is irrelevant. There is little discussion of language, structure, and 152 style and how they relate to the global issue chosen. Some relevant analysis, but this is largely descriptive. Aspects of language, structure and style are highlighted, but with little understanding of how they relate to the context of the global issue chosen. 5.6 There is analysis, with appropriate and evaluative commentary. There is reasonable understanding of language, structure, and style in the context of the global issue chosen. 7-8 There is analysis, with appropriate and evaluative commentary that is at times perceptive. There is good understanding of language, structure, and style in the context of the global issue chosen. 9-10 There is analysis, revealing appropriate and evaluative commentary that is perceptive. There is excellent and nuanced understanding of language, structure, and style in the context of the global issue chosen. XXV
XXVi IB English A: Language and Literature Criterion C: Focus and organisation What is assessed? Structure, focus, and balance. The ability to connect ideas coherently. Marks | Description of level 1=2 7-8 9-10 The response does not meet the standards described by the descriptors below. There is little focus on the question, and ideas are rarely connected. There is some focus on the question, but there may be a lack of balance in how works and texts are discussed. Connections are established between ideas, but not always coherently. There is focus on the question, but this may occasionally lapse. Works and texts are discussed in a generally balanced way. Ideas are developed in a logical way, and are clearly connected. The oral is generally clear and sustained. Works and texts are discussed in a balanced way. Ideas develop consistently and coherently. The presentation of ideas is convincing. The oral is clear and sustained. There is good balance in how works and texts are discussed. The presentation of ideas is logical and convincing, with ideas connected insightfully. Criterion D: Language What is assessed? Clarity, accuracy and effective use of language. Marks ‘ Description of level 7-8 9-10 The response does not meet the standards described by the following descriptors. There is a general lack of clarity and precision. Frequent errors affect communication. Aspects of style are inappropriate. There is general clarity. Errors may affect communication. Aspects of style are often inappropriate. There is clarity. Errors do not affect communication. Vocabulary and sentence structure are appropriate, but lack variation and sophistication. Aspects of style are appropriate. There is clarity and accuracy. There may be small errors, but these do not affect communication. Vocabulary and sentence structure are appropriate and varied. Aspects of style are appropriate and may enhance the oral. There is clarity, accuracy, and variation. There may be small errors, but these do not affect communication. Vocabulary and sentence structure are appropriate, varied, and enhance the presentation of ideas. Aspects of style are appropriate and enhance the oral.
Introduction to the English A: Language and Literature course Higher level (HL) essay Criterion A: Knowledge, understanding and interpretation What is assessed? Knowledge and understanding of literary works or texts, using appropriate supporting references to make inferences and draw conclusions relevant to the chosen question. Marks ‘ Description of level 0 The response does not meet the standards described by the following descriptors. There is little knowledge and understanding of the works or texts relevant to the chosen question. There are few references to the work or text, or references are mainly inappropriate. There is some knowledge and understanding of the works or texts relevant to the chosen question. There are some references to the work or text, and these are sometimes appropriate. There is a satisfactory knowledge and understanding of the works or texts relevant to the chosen question. References to the work or text are generally relevant, and generally support claims and arguments. There is a good knowledge and understanding of the works or texts relevant to the chosen question. Claims and arguments are sustained, and supported by references. There is excellent knowledge and understanding of the works or texts relevant to the chosen question. Claims and arguments are persuasive, and supported effectively by well-chosen references. Criterion B: Analysis and evaluation What is assessed? Analysis and evaluation of language, technique and style to establish meaning and effect relevant to the chosen question. Mar! 0 ‘ Description of level The response does not meet the standards described by the following descriptors. The response is descriptive, offering little appropriate analysis relevant to the chosen topic. The response offers some analysis relevant to the chosen topic, but this is mainly descriptive. The response is generally analytical, offering some understanding of the ways in which language, technique, and style establish meaning and effect relevant to the chosen topic. The response is analytical and evaluative, offering understanding of the ways in which language, technique, and style establish meaning and effect relevant to the chosen topic. The response is analytical and evaluative, offering a perceptive and persuasive understanding of the ways in which language, technique, and style establish meaning and effect relevant to the chosen topic. XXVil
XXViii IB English A: Language and Literature Criterion C: Focus, organisation and development What is assessed? Structure, focus, development of ideas and the integration of examples. m Description of level 0 The response does not meet the standards described by the following descriptors. There is little attempt at organisation, and no clear development of ideas. Supporting examples are not embedded into the essay. There is some attempt at organisation, although ideas lack development. Supporting examples are rarely embedded into the essay. There is adequate organisation and generally coherent. Ideas are developed. Supporting examples are sometimes embedded into the essay. There is good organisation and the essay is mostly coherent. Ideas are generally well developed. Supporting examples are generally well embedded into the essay. There is effective organisation and the essay is coherent. Ideas are well developed. Supporting examples are well embedded into the essay. Criterion D: Language What is assessed? The ability to write using language which is clear, accurate and varied, in an appropriate academic style and register, and the use of relevant terminology where appropriate. Marks | Description of level 0 1 The response does not meet the standards described by the following descriptors. There is lttle clarity, accuracy, or sense of register, and the language s rarely appropriate. There is some clarity and accuracy, and some sense of an appropriate register, although There are errors. There is adequate clarity and accuracy, and the register is generally appropriate, with occasional errors. There is good clarity and accuracy, and the register is consistently appropriate. There is very good clarity and accuracy, and careful use of language. The register is appropriate and effective.
Chapter How do the style and structure of a text affect its meaning? What should you look out for when analysing different types of text? How do texts adhere to, or break, the conventions of a particular text type? Why is it important to identify particular features as typical or atypical of a particular text type?
Word bank signifier symbol icon logo composition negative space rule of thirds visual narrative anchoring caption illustration ears teasers headlines body language gaze EIG T el ves e learn how to read visual texts, exploring the relationship between words and images e develop skills to analyse how meaning is constructed in magazine covers. In your English A: Language and Literature course you will often be asked to deconstruct images. For example, there could be a cartoon on your Paper 1 exam. In class, your teacher may ask you to analyse graphic novels and advertisements. This unit will help you to develop useful skills for deconstructing the images that you can find in a range of texts. Furthermore, you can apply these tools to the type of text that is featured in this unit: the magazine cover. Getting started ‘An image says a thousand words’, as the saying goes. Most likely, you see hundreds of images, photographs and advertisements every day, whether you are conscious of it or not. But how do images communicate ideas? Images communicate ideas through signifiers. The message they communicate is what is signified. Texts 1.1—1.3 each depict an apple, the same signifier. What is signified in each image, however, is different. On a copy of the table, indicate what is signified in Texts 1.1-1.3. Text 1.1 Text 1.2 Text 1.3
Unit 1.1 Images and magazine covers Text 1.1 — apple means Text 1.2 — apple means Text 1.3 — apple means 1.2 When analysing images, you will need to describe the relationship between signifiers and the things they signify. An image may be a symbol, meaning that it stands for something abstract. A heart, for example is often a symbol of love. An image may be an icon, meaning it resembles the thing it represents. In this case, a heart may direct you to the cardiology department of a hospital. A logo is a design used to represent an organisation so that the company or organisation becomes associated with the design. On a copy of the table, indicate what is signified in Texts 1.4-1.7. Are these images symbols or icons? Text 1.4 Text 1.5 Text 1.6 Symbol or icon? Text 1.4 — hammer and sickle Text 1.5 - dove Text 1.6 — envelope Text 1.7 — emoji CONCEPT Communication People use symbols and icons for communication on a daily basis. Think, for example, of emoticons, which are a mix of icons and symbols. Some emoji faces resemble the emotions that they represent, meaning they are icons. Some hand signs, such as a ‘thumbs up’, are cultural and arbitrary, meaning there is nothing inherent in how they construct meaning. Do you use emojis to communicate? In which context do you use them? Text 1.7 TOK How do you know what you know? This is the guiding question for theory of knowledge. How do you know that a hammer and sickle are visual symbols for ‘communism’? Were you taught this? Did you discover this? Have you only just learnt this by doing Activity 1.2? Think of other symbols which are not inherently obvious in their meaning. Bring an image of a symbol to class and ask your classmates if they know its meaning and how they know this. w
Exploring text types Before you can deconstruct images, it helps to think about how images are constructed. When analysing symbols and their placement in an image, you need to consider an image’s composition, a term taken from visual arts, which refers to the author’s arrangement of objects in relation to each other, the use of colour and contrast, the amount of negative space, and the use of light and depth Study Text 1.8 and answer these questions: Why has the creator of this image chosen a white dress? What else can you say about the use of colour? What is the effect of the dark space behind Gabriela Sabatini? As a symbol, what does the milk moustache stand for? Photographers do not always place their subject in the centre of their photos. If you were to draw lines over Text 1.8, cutting up the image into three even columns and three even rows, Sabatini’s milk moustache appears at the intersection of the top row and the right column. The rule of thirds, often applied by artists and photographers, tells us that viewers often look to the places where these three columns and three rows intersect. Study Text 1.9 and divide the image into nine equal-sized boxes, using the rule of thirds. What appears near the intersections of the imaginary columns and lines? Text 1.8 Text 1.9 ) s tasting great, What a surpriser / Small but tough. Polo. @
Unit 1.1 Images and magazine covers 1.5 The Russian playwright Anton Chekhoy once said:‘Never place a loaded rifle on the stage if it isn’t going to go off” Although Chekhov was speaking about theatre, the same holds true for images. If there is a causal relationship between the signifier and the signified, then there is a visual narrative. What does this mean? It means that an image can tell a story. Smoke suggests fire. A bruised eye suggests a fistfight. Comment on the visual narratives of Texts 1.8 and 1.9 by answering these questions: a What is signified in each image? b What signifiers have constructed these meanings? ¢ What story is being told in these images? What happened before each image? What will happen after each image? d How do these stories achieve their respective purpose? 1.6 Imagine Texts 1.8 and 1.9 without any words. It may seem rather funny to see a tennis star with a milk moustache and a giant gorilla with a hurt foot with no explanation. Theimages’ meanings are anchored in the words. Anchoring is the process of making an image meaningful by adding words, such as a caption. It is also the process of making words meaningful by adding images, such as an illustration. a How does the meaning of the image in Text 1.10, an HSBC advertisement, change when it is anchored in three different captions: ‘decor’, ‘souvenir’ and ‘place of prayer’? b How does the meaning of the word ‘accomplishment’ change when anchored in three different illustrations in Text 1.117 Text 1.10 place souvenir Py e s lccompiishment Eleloto gl ol IEYa g etcls ishment LEARNER PROFILE Open-minded How do Texts 1.10 and 1.11 promote open-mindedness? The more you look at the world, the more you recognise how people value things differently. www.hsbc.com HSBC <X» The world's local bank The more you look at the world, the more you recognise what really matters to people. HSBC <» The world's focal bank
—— 00000000 CONCEPT Perspective Notice how Texts 1.10 and 1.11 encourage you to see things from a different perspective. As a fun activity, find an interesting advertisement, remove or hide the slogan and ask a classmate to guess the slogan to give the image meaning. How do words give you a perspective on an image or vice versa? Exploring text types AOE question In what ways is meaning discovered, constructed and expressed? As you can see from Texts 1.10 and 1.11, you can discover meaning by exploring the relationship between images and words. Many mass media texts such as advertisements construct meaning by combining words with images in illustrations and captions. International mindedness The HSBC advertisements used for Activity 1.6 (Texts 1.10 and 1.11) are perfect for discussing international mindedness. How can people see the same thing differently? Part of becoming internationally minded is accepting that people may interpret what you see differently and also be right. The last line of the IB mission statement states that ‘others, with their differences, can be right'. What does this mean for you? Model text 1.7 Study Text 1.12,a magazine cover depicting US Republican politician Sarah Palin. Read the accompanying box defining the features of a magazine. Have a discussion on how Newsweek has depicted Sarah Palin as a strong or weak political figure. Text 1.12 ears and teasers Il H PROBLEN! (= AL SHE'SBAD NEWS FOR LA 3101 RIR 115 headlines and captions symbols
Unit 1.1 Images and magazine covers Key features explained Key features ‘ Examples from Text 1.12 Title: The type of font and its use of colour comment on the nature of the magazine and the context of its readership. Consider how some magazines place their title in front of the subject on the cover, while others place it behind their subject. Ears and teasers: The upper left and right corners are known as the ‘ears’ of the cover. Headlines in the ears are also called ‘teasers’, as they invite the reader to look inside the newspaper or magazine. Headlines and captions: These are statements, questions or phrases which capture the reader’s attention and lead the articles. Which lines stand out most? Photograph: Most magazine covers include photographs of people or people’s heads (known as ‘headshots’). Consider the camera angle in relation to the subject. Looking down on a subject may make her appear weak. Looking up at a subject may make her appear strong. Symbols: What goes into the composition? Objects tend to symbolise abstract ideas. Lighting and colour: Is the lighting crisp or warm? Is there high or low contrast? What associations do you have with the colours? Brighter images generally exude warmth and friendliness. Bold, serif and high contrast suggest strength and are often used for opinion magazines such as Newsweek. ‘A Global Innovation Survey’ and ‘Obama and Fort Hood’ appear in the ears and act as teasers. ‘How do you solve a problem like Sarah?’ captures the reader’s attention. The caption ‘She’s bad news for the GOP - and for everybody else, too’ smacks of bias, which is appropriate for opinion magazines. The camera is slightly below Sarah Palin’s eye level, making her appear relatively strong. However, this full body shot makes her look rather insecure. The American flag, the mobile phones (plural!) and Palin’s trainers are not arbitrarily placed into the frame. They symbolise something. Can you guess what? Notice the use of red, which grabs the reader’s attention. Red is in the US flag, the title and Palin’s running shirt. It is also the colour of the Republican Party. Her legs reflect and ‘shine’. 1.8 In order to analyse photographs of people thoroughly, such as the one of Sarah Palin on the cover of Newsweek (Text 1.12), you may need to know more about body language. Body language may be considered as a kind of stylistic device or structural feature of a visual text. Study these five aspects of body language and discuss how they relate to Text 1.12. How do they add to or take away from the ‘power’ that Sarah Palin seems to have? ® Smiles and teeth: The mouth can express emotions quite clearly. Smiles, especially those showing teeth, make one look friendly, jovial and affable. ® Gaze: Is the subject looking at the camera, to the side of the camera, or to a faraway place? The subject’s gaze has an effect on the reader. Looking away from the camera can make the subject appear aloof, distant or unapproachable. Looking into the camera, however, makes the subject appear engaged with the reader. ® Position of hands: Hands matter. Crossed arms tend to make the subject look strong. Fidgeting hands are a sign of weakness.
ATL Research Each unit in Chapter 1 explores a different text type. Each unit presents a different ‘model text’ and ‘key features explained'’. While definitions from this coursebook may be useful, you should research more examples of each text type and discuss any features that you find typical of the text type. Try to curate a range of text types in your learner portfolio as you study this language and literature course. ——— 00 CONCEPT Representation Imagine that Text 1.13 depicted a male politician, instead of a female politician. How would the effect of this image be different, if he were to appear in the same position with the same clothing and facial expression? This raises a greater question: ‘How are male and female politicians represented differently by the media and for what reasons?’ Discuss your answers as a class. Exploring text types ® Skin: Skin means exposure. This may be interpreted as vulnerability, sexual availability or athletic ability, depending on the context. ® Torso: If the subject leans forward, they appear eager to engage with the reader or listener. If they lean backward, they seem disengaged. Over to you 1.9 Study Text 1.13, a magazine cover featuring Julia Gillard, Australia’s first female Prime Minister. Analyse Text 1.13 using the ‘Key features’ of a magazine cover (Activity 1.7) and the tips for understanding body language (Activity 1.8). Do this as a class by drawing a large table like this one on a whiteboard. Individually write a sticky note for each row of the table, including your ideas about each aspect of the text and body language. Then place your sticky note on the board and read everyone’s notes. How similar or different are your ideas from your classmates’ ideas? Discuss your answers as a class. Title Smiles and teeth Ears and teasers Gaze Headlines Position of hands Photograph Skin Symbols Torso Lighting and colour Text 1.13 Further reading ® This Means This, This Means That: A User’s Guide to Semiotics by Sean Hall is a good starting point for those who are interested in learning more about how meaning is constructed by text and image. ® PDicturing Texts by Lester Faigley, Diana George, Anna Palchik and Cynthia RL YO Selfe offers a well-illustrated introduction to visual literacy and semiotics.
Learning objectives Word bank e become familiar with a range of different types of advertisements banner e be able to define the key features of print advertisements sponsored link marketing e understand the effects of various advertising techniques. ; ) ambient advertising billboard We see advertisements on a daily basis in many different forms. Think of pop-ups in web browsers, ¥ : : e guerrilla advertising billboards on the roadside, commercials on TV or print advertisements in magazines and newspapers. . . o . roduct placement Advertisers will try all kinds of tricks and techniques to grab your interest, even if it is just for a few Bl P seconds. This unit introduces you to the conventions of print advertising, and helps you to identify spoof ad their defining characteristics and features when analysing these texts in class. You may find that celebrity endorsement seemingly simple advertisements lend themselves well to in-depth textual analysis. advertorial commercial public service Getti ng Sta rted announ.cz-ament subvertising visual narrative Look at Texts 1.14—1.17: which of them are advertisements? How can you identify them? copy List the features that these texts have in common. tagline signature Text 1.14 logo slogan advertising techniques problem and benefit bandwagon effect testimonial association CONCEPT jell== Creativity IS MORE Ll U N EelTe N S A PHILOSOPHY. Notice how Texts 1.14-1.17 all relate to a common topic of preserving the environment. How does each text, in its own way, use creativity to engage its audience with this topic?
Exploring text types Text 1.17 T want to be a bike Recycle me F%) | BEadmiril Text 1.16 2.2 In fact, Texts 1.14-1.17 are all various forms of modern advertising. ® Text 1.14 is a banner or sponsored link, a kind of advertisement which is automatically embedded on third-party websites. ® Text 1.15 is a shopping bag, which may be considered marketing material for a brand. ® Text 1.16 is a kind of advertisement known as ambient advertising, as it utilises physical surroundings to construct meaning. ® Text 1.17, which may not promote a commercial product or company, can still be considered an advertisement, in the form of a billboard. There are many different forms of advertising in the world. ® [n small groups research the definition of one of the terms listed a—t. ® Each group should work on a different term. ® Research the definition of your term and find an example of it through an online search. ® Present your definition and text to your classmates. Terms printed in bold are used throughout this coursebook. a guerrilla advertising b product placement ¢ spoofad d sponsored content e interstitial £ publicity stunt g celebrity endorsement h co-branding i advertorial j TV commercial k direct mail 1 radio advertisement m public service announcement n branded goods o social media campaign p flash mob q subvertising r outdoor advertising s transit advertising t jingle 10
Unit 1.2 Advertisements AOE question How do texts follow or move away from the conventions associated with different types of text? Activity 2.2 introduces a range of text types, most of which deviate from the standard conventions of print advertising. What does your text type have in common, if anything, with conventional print advertisements? Model text 2.3 What are the key features of print advertising? Several structural features are shared by many traditional print advertisements. Study Text 1.18 and the table ‘Key features explained’. What features does this text have in common with Texts 1.14-1.17, the less traditional advertisements in this unit? Text 1.18 Principled An IB learner is principled. Can you list three principles that are important to you in life? What do you believe in? - Can you find an advertisement that GO FROM PLACE TO PLACE. advertsement WITHOUT GOING FROM PUMP TO PUMP! or Mot of Hics principles or beliefs? e Do some research online and bring an advertisement to class visual narrative "We had to attend 2 function at a place 2Skms on NH48.. we checked the mileage and achieved aimost 20km/l with the AC on! That's closer tomy oldbike than other cars. oo Shanioy sk, Mangalors to discuss with your classmates. Add this - advertisement to your Over 60,000 proud Nano owners have experienced the joy of the car. When o7e you Creating your own portfolio and think incredible Nano story? Drive home your Nano from the nearest dealership. about how it will Read ‘Nano Diaries’ st www.tatanano.com nono connect to a global 3 ; hadhi issue that you are K‘l.lb b 3 m exploring in class. 1
TOK How do you know if a product is worth buying? How do you know if advertisers are telling the truth? Advertisements are great texts for exploring TOK, because they often use reason and language as a means to sell you something. Bring an advertisement to class and present it to your classmates, asking them these two questions. Discuss reason and language, as ways of knowing (WOKs), in relation to your advertisement. 12 Exploring text types Key features explained Key feature Visual narrative: Advertisements usually include a photograph or image which tells a story. Copy: This is the term used to describe the text or words in the Examples from Text 1.18 Where is this little yellow car going? Why is the driver smiling? The reader can find answers to these questions in the advertisement. ‘Over 60,000 proud Nano owners have experienced the joy of the car.’ This is one advertisement. part of the copy. Mr Shenoy Kudpi's story is another part. Tagline: This is the catchphrase that leads the advertisement. It should be memorable. ‘Go from place to place. Without going from pump to pump!’ The use of alliteration and repetition makes this tagline memorable. Signature: The use of the product’s name and logo acts as a kind of signature. The Tata Motors logos appear in the upper right and lower left corners. Slogan: This is a phrase used by a product or brand for all of its marketing purposes. ‘Khushiyon ki chaabi’ means ‘the key to happiness’, which is the Nano slogan in the lower right corner. 2.4 Therearea range of advertising techniques used by advertisers to persuade you to buy a product. Can you find evidence of these techniques in Text 1.18? ® Problem and benefit: Advertisements may try to blur the lines between what you want and what you need, convincing you of problems that you never knew existed. By creating a problem, they can then offer you a solution. ® Bandwagon effect:You are more likely to buy a product if it is the latest rage and everyone else is buying it. The ‘bandwagon effect’ takes its name from wagons in a parade where many people seem happy to join in. ® Testimonial: Many advertisements feature happy customers or famous people who use a product. The latter is known as celebrity endorsement. A personal story about product satisfaction is more likely to make you believe in the brand and product. ® Association: Where does the product appear, literally? Products become associated with whatever you see beside the product and whatever values those things represent. For example, a photograph of a family eating hamburgers might associate the hamburgers at the restaurant with family values. Association is a powerful tool. AOE question How do the style and structure of a text affect its meaning? The Nano advertisement is not the first to sell a car based on its fuel efficiency. Do an online search for more advertisements that sell fuel-efficient cars. How do they use style and structure similarly or differently? Which advertisement is most convincing and for what reasons?
Unit 1.2 Advertisements Over to you 2.5 Design your own advertisement for an imaginary product, such as ‘toothpaste for children’ or a ‘robot vacuum’. Present it to your classmates and comment on your use of structural features your and advertising advertisement. techniques. Ask your classmates how likely they are to buy your product, based on Extended essay a Think of a product that may be unique or even slightly silly. You may want this product to be connected to a global issue that you are exploring in your learner portfolio. b Try to find images online which could form the foundation of your advertisement. These images should tell a story (visual narrative). ¢ Think of a product name, slogan, tagline and copy to go with the image. Use text-editing software to add layers of text over the image(s) you have found. How do the words add meaning to the images? d Show your advertisement to a classmate and discuss how typical your advertisement is of the text type. CONCEPT Representation Are you struggling to think of a product to advertise for Activity 2.5? Ask yourself how a certain group of people are often represented in advertisements. Advertisements, after all, play a large role in constructing stereotypes. Can you create an advertisement that breaks these stereotypes by depicting a person or people in a different way from what is expected? Further reading Ogilvy on Advertising is a classic ‘how to’ book, written by one of the most prominent advertisers of the 20th century, David Ogilvy. His earlier book, Confessions of an Advertising Man, also has its place in history. ® Buyology: Truth and Lies About Why We Buy by Martin Lindstrom explores the biology behind brand loyalty, offering insights from brain scans of people who view advertisements. ® Rory Sutherland has an interesting TED Talk called ‘Life lessons from an ad man’, about how advertisements can add value to a product by changing people’s perception of the product. ® You may find it interesting to watch an episode from Mad Men,a TV series about advertising agencies in the 1960s in the USA. An online search for ‘Don Draper’s Kodak Carousel as pitch” will reveal a video for discussion. Are you interested in writing your extended essay about advertisements? This is possible under the requirements of the Category 3 extended essay. As you think about a research question for your essay, however, be sure to focus on several advertisements from a single campaign which you can analyse in detail in your essay. Make sure that there are sufficient secondary sources about how the advertisements from this campaign were received. Include (some of) the advertisements in an appendix to the essay. 13
Unit 1.3 Film and commercials Word bank cinematography public service announcement still dystopia mise en scéne camera angle camera shot dolly pan zoom diegetic sound non-diegetic sound voice-over montage allegory Extended essay It is recommended that you write your extended essay on one of the six subjects that you are taking (if you are taking the full IB Diploma). Keep in mind that film is an entire field of research and study. In fact, it is an IB subject in itself. If you want to write your essay about a film or commercial, read the requirements for a Category 3 extended essay and see how you can meet them. 14 Learning objectives ® gain a better understanding of how film as a medium can be used to construct meaning e appreciate a range of different kinds of commercials. Most likely you have been to the cinema, watched online videos or even made your own movie on a smartphone or other device. But have you ever thought about how the language of film constructs meaning? Remember that the words ‘text” and ‘language’, as used in your language and literature course, are broad terms. Afilm could be considered a ‘text’ and cinematography may be considered part of the language of film. In this unit, you will study how meaning is constructed through the language of film, by exploring several commercials and public service announcements. Getting started 3.1 Get into small groups and assign each group a different video from the bullet list provided. As a group, do an online search for your commercial or public service announcement, using the name of the commercial from the list. Watch your commercial a few times and prepare a presentation on it for your classmates. Present your group’s commercial to your classmates by following these steps: a Give your classmates a question to consider before playing the commercial. Then show them your commercial and ask them to answer your question. b Show your classmates three important ‘stills’ from your commercial. A still is a freezeframe from the video. For each still, explain why you think it captures the spirit of the advertisement. ¢ Play your commercial again for your classmates, but this time without any sound. What is lost? What is preserved? Discuss your answers to these two questions with your classmates. After you have seen each presentation, explain in which ways your commercial was different from everyone else’s commercial. Suggested commercials to consider for Activity 3.1 ® ‘Proud to Be (Mascots)’ by National Congress of American Indians ® ‘Onslaught’ by Dove ® ‘Imported from Detroit’ by Chrysler ® ‘Listen’ by No More ® ‘The Force’ by Volkswagen
Unit 1.3 Film and commercials AOE question How can comparing and interpreting texts transform readers? After watching the ‘Onslaught’ commercial by Dove, try watching ‘Onslaught(er)’ by Greenpeace and compare the two. How does this comparison transform the way you think about Dove, Greenpeace and palm oil? Model text 3.2 When analysing film, there is a lot to consider. Do an online search for 1984 Apple Super Bowl commercial’. Discuss your answers to these questions: a Imagine that the year is 1984 and you have never heard of the Apple Macintosh computer. Based on your viewing of this commercial, what would you think of the product? b What do you think of the commercial? What is your gut feeling or initial response? What makes you say this? ¢ What is the message of this commercial? d How does the director, Ridley Scott, use film as a medium to convey a message to you, the viewer? e Read the ‘Key features explained’ table. Did you already know some of these terms? To what degree do these terms help you articulate your answers from questions a—d here? AOE question How useful is it to describe a work as “classic’? The ‘1984’ Apple Macintosh commercial has become something of a ‘classic’ in the advertising world. The novel to which it alludes is a classic in the world of English literature. Why do you think people are drawn to dystopian stories, like the one depicted in Ridley Scott’s commercial? TOK How do commercials appeal to the imagination of the viewer? In TOK you may have learnt that imagination is a way of knowing (WOK). As you explore various commercials in Activity 3.1, discuss the role of imagination in constructing meaning. 15
Exploring text types Key features explained LR RN Examples from 1984 Apple Super Bowl commercial Mise en scene: This refers to what goes into the frame, including the subjects, backdrop and props. It also refers to the positioning of everything or the composition of the shot, including the lighting. Camera angle. What is the angle of the camera in relation to its subject? Is it a bird's-eye view, high angle, eye-level angle, low angle or worm’s-eye view? Camera shot: The distance between the camera and the subject is important to consider. You may see an extreme-close shot (XCS), a close shot (CS), medium shot (MS), long shot (LS) or extreme long shot (XLS) (see the diagram on perspective). Does the camera move or stay still in relation to its subject? Sometimes the camera is put on a dolly. Sometimes it rotates on its access, creating a pan. Cameras can also zoom in and out, often in combination with camera movement for special effects. Finally, consider the length or duration of the shot, which will help determine the pace of the film. Diegetic and non-diegetic sound: Sounds which are created by the characters, objects or events on the screen, such as dialogue, are known as diegetic sounds. Sounds with an unknown source, added after filming, such as music, are known as non-diegetic sound. Montage: How are all of the shots and music put together? The skill of editing and joining shots to get a particular effect is called ‘'montage’. The large room, where men with shaved heads sit staring at Big Brother on the screen, is featured in many scenes. The gas masks, the boots, the grey clothing and tunnel all contribute to the dystopian atmosphere. The use of colour in the hammer thrower’s clothing is sharply contrasted with the blues and greys in the scene, suggesting she brings hope and change. The scene opens with a bird's-eye view of a transparent tunnel, where we see the heads of prisoners marching. There is a worm’s-eye view of the boots, and eye-level shots of the prisoners. The camera is on a dolly as it pans along the rows of prisoners. Close-up shots of the prisoners’ faces, as they march or sit, give the impression that they are brainwashed like zombies. The running woman with her hammer approaches the camera, which switches between her getting closer, the guards chasing her and Big Brother speaking. Each shot zooms in on its subject more and more, intensifying the experience for the viewer. The sound of Big Brother speaking is at first nondiegetic and then later diegetic, which creates suspense. The hammer thrower’s scream, as she throws her hammer at the screen, seems to cut through all of the background robotic noises. The prisoners make a strange singing noise in response to the exploding screen, as the voice-over tells us about Apple’s new computer. The shots switch between the woman with the hammer and the prisoners with increasing frequency. This creates tension and suspense, as the reader sees the inevitable conflict between her and the guards and Big Brother. The final text about the launch of the new Apple Macintosh frames the whole scene as an allusion to the novel Nineteen Eighty-Four. TOK The 1984 Super Bowl commercial for the Apple Macintosh is an allusion to the novel Nineteen Eighty-Four by George Orwell. But it also resembles Greek philosopher Plato’s Allegory of the Cave, which suggests that humans might be like prisoners trapped in a cave making observations that are not real. Find out more about Plato’s allegory, and discuss the parallels between his ideas and Ridley Scott’s commercial. 16
Unit 1.3 Film and commercials CONCEPT Perspective When we analyse a director’s use of camera angle or shot duration, we are really talking about perspective. Film directors carefully choose how they film their stories in order to give their audiences a different perspective on a topic or theme. Remember to use the word ‘perspective’ frequently when analysing film. ‘ bird's-eye view L At high angle \fl \ L QQ\’\’ L XCs MS n rrrrrrrrrrrr s -ieyelevel - . low angle T4 worm’s-eye view Cinematography is a term used to refer to camera work, including use of light, mise en scéne, camera angle, shot distance, shot movement, shot duration, sound and montage. 3.3 After reading the ‘Key features explained’, return to the commercials that you explored in your presentations for Activity 3.1. Watch them again and prepare another brief presentation on one of them. In this presentation, use the terminology that you have learnt and apply it to your group’s commercial. Explain how the ‘key features” helped you understand these commercials better. Discuss as a class. International mindedness Have you ever seen a commercial in a language that you cannot understand? It is an interesting cultural experience. If possible, show your classmates a commercial in a language that you understand but they do not. Ask them what cultural differences they see. Ask them what they think the commercial is about. Then explain it to them. Alternatively, you can watch a foreign commercial without subtitles before watching it with subtitles. How do commercials differ from culture to culture? 17
CAS How are you recording your CAS experiences? Are you creating a video journal? You may want to consider this medium for documenting and reflecting on the activities that you undertake, so that others can appreciate what you have done. If you film your experiences, consider what you have learnt from this unit on film as a medium. 18 Exploring text types Over to you 3.4 Shoot your own 60-second commercial. Create an imaginary product and think of a way to sell it, using film as a medium. Consider all of the points mentioned in the ‘Key features explained’ section.You may want to work in groups or individually. You could use either a smartphone or a video camera.Your commercial does not have to sound or look professional in order for it to be effective. Present your commercial to the class and explain the choices that you had to make in creating it. ATL Communication Activity 3.4 asks you to make your own short commercial. As you develop your communication skills in the diploma programme, try making a few videos. So many people rely on video these days, as a means of persuading, entertaining or informing audiences. Try writing your own script. Although it is not easy, it is certainly a useful skill. Further reading ® The Filmmakers Eye by Gustavo Mercado is an excellent book for understanding the nuts and bolts of cinematography. ® 101 Things I Learned in Film School by Neil Landau is a highly simplistic but effective list of tips on how to construct meaning, using a (video) camera. These short paragraphs and drawings will make you think more about the art of story-telling in general.
Learning objectives e understand the way meaning is constructed in political cartoons e learn the skills to analyse some political cartoons, including several from the Cold War. Public opinion is often reflected in cartoons or comic strips in newspapers or on websites. Political cartoons, specifically, aim to comment on politics and public figures. They often combine drawings and words into a single frame to succinctly criticise policies or people in a humorous way. This unit introduces you to several political cartoons and the methods they use to construct meaning. Getting started Texts 1.19 and 1.21 give you two perspectives on the Soviet Union and Text 1.19 USA during the Cold War. Text 1.20 comments on more recent relations between Russia and Ukraine. The Soviet-era cartoons have been translated. Study these three texts and discuss your answers to these questions: How does each cartoon show an opinion on a political matter? Where do you see evidence of bias? Comment on the style of all three cartoonists. How do they use drawings to express their opinions? How dated are these cartoons? How meaningful are they in the current political context? Text 1.20 p Word bank public opinion bias caricature symbolism labelling caption irony situational irony topical ™M SAVING You FROM, DROWNING* 19
20 Exploring text types Text 1.21 The title translates as ‘Phases and . . . bases’. The words from the broadcaster in the back pocket are ‘Peace’, ‘Defence’, ‘Disarmament’. AOE question How can cultural contexts influence how texts are written and received? As you explore Texts 1.19 and 1.21, consider what you know already about US-Soviet relations during the Cold War. How do these cartoons give you a better understanding of this and how each country viewed the other? International mindedness In order to develop international mindedness, you will need to develop a sense of history and a willingness to look at other people’s perspectives on past events. While English is the target language of this course, it is important to look at texts in translation, including political cartoons from other cultures and times than your own. As in Activity 4.1, try to find political cartoons that express both sides of a political conflict. Model text 4.2 Do an online search for a political cartoon that depicts Russian President Vadimir Putin. In a short presentation, compare your cartoon to Text 1.22. Use the ‘Key features explained’ section to prepare your comparative analysis. Complete a copy of this table.
Unit 1.4 Political cartoons _ Text 1.22 Another Putin cartoon ATL Caricature Research The IB asks you to Symbolism develop your research skills. Activity 4.2 asks Labelling and captions you to find a political cartoon that depicts Irony Vladimir Putin. How are you going to do this? Topical Will you simply type ‘Vladimir Putin political cartoon’ into a search Text 1.22 engine? This could lead _ Tonicl to very simplistic results. BORIS {JELTSIN Instead you may want EREET Rumslh Sl o to start with other AUTHORITARIAN ABETTER terms, such as ‘political cartoon’ in combination with ‘research guide’ or ‘database’ to find out where to begin. PAST FUTURE AUTHORITAR]/ RUSSI ARIAN ——en BY V. PUTIN labelling and captions LEARNER PROFILE Knowledgeable An IB learner is knowledgeable. You may find political cartoons a fun way of keeping up with news and world politics. While good political cartoons are topical, they are also biased. Take this into consideration as you study them. 21
22 Exploring text types Key features explained Caricature: Cartoonists often exaggerate the facial features of political figures as a comment on the person’s character. This is a process known as caricature. Topical: What makes a political cartoon political is that it is topical. It comments critically on a current affair, a much discussed political figure or a recent event. Political cartoons tend to comment on the news. Symbolism: Political cartoons must succinctly communicate abstract ideas through concrete objects. Icons and symbols do this effectively. Labelling and captions: Cartoons often use labels and captions in order to make their message and any use of symbolism clear. Irony: Many political cartoons highlight the irony of a particular situation. Irony is when one means the opposite of what one says. Situational irony occurs when one’s actions have the opposite of the intended effect. The caricature of Vladimir Putin depicts his lack of emotion. He seems detached, cold and determined. Vladimir Putin was in the news in 2007 as he was running for President of Russia for a second term. The bear is a common symbol for Russia. The star on the bear’s hat is a common symbol for the Soviet Union. By taking the statue of the bear down, the cartoon suggests there will be a change from Soviet times. The pedestal reads: ‘The new and improved authoritarian Russia’, which adds meaning to the image of Putin dismantling the old iconic bear. The cartoonist suggests that Boris Yeltsin freed Russia from its authoritarian past so that it could elect a dictator. This is rather ironic. 4.3 Think of an issue or person currently in the news, in your own country or region, or in the global news. Do an online search for political cartoons about this person, issue or event. Place the cartoon in the middle of a digital document or piece of paper. In the margins, label the features of your cartoon and write comments about how these features construct meaning and express an opinion. Share your document digitally or display your page for others in your class to see and read. Have a classroom discussion about your chosen issue or person, and share opinions about these current affairs.